剧情简介
凯莉因为不想生孩子而与未婚夫分手，阴沉不久母亲去世，阴沉从此她一个人生活。处于人生低谷的她偶然看见公交上用假怀孕骗座的女人和在公司老板对怀孕的同事的关心后，她决定假怀孕来获取大家对她的关注。一场假孕风波由此开始。
阴沉
凯莉因为不想生孩子而与未婚夫分手，阴沉不久母亲去世，阴沉从此她一个人生活。处于人生低谷的她偶然看见公交上用假怀孕骗座的女人和在公司老板对怀孕的同事的关心后，她决定假怀孕来获取大家对她的关注。一场假孕风波由此开始。
回复 :“动乱时代”特指1598年俄罗斯统治家族绝嗣之后的一段长期动荡。由于正统王室后继无人，俄罗斯农民落入外国势力之下，瑞典、立陶宛、德国和波兰的占领者纷至沓来。1612年，这时正值所谓的“动乱时代”的末期，故事围绕一群衣衫褴褛的俄罗斯农民展开，他们装备上所能得到的加农大炮，雇用放纵的骑士，把占据克里姆林宫长达几个月的波兰人赶了出去。1613年罗曼诺夫王朝的建立标志着这一时代的结束。
回复 :总是看着醉醺醺的老公，过着孤独的生活的尚熙..只能看着视频里的主人公民基来自慰，有一天，尚熙偶然地找了朋友美妍介绍的男人刘易斯，尚熙的生活从此变得天翻地覆，看着尚熙举止怪异，总是说些奇怪的话，丈夫东锡开始担心尚熙，而尚熙却沉浸在一场场刺激感官的春梦里...
回复 :Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
